1. BEAUMONT SCHOOL ART
DEPARTMENT
AS COURSE GUIDE

2. AS-Level Art & Design
YEAR 12
Welcome to A LEVEL ART. This is the beginning of a hard, but enjoyable two
years. Art is not easy; it’s about hard work, creativity and the will to do well. If
you listen to the help, advice and guidance that we will give you, give 100%
for every piece of work, and try your best, you will succeed.
Your A-level is very important and to get the maximum from your coursework
you must complete all set assignments and make sure you live, breathe and
eat art.
You have chosen this option, so we expect nothing but your best.
THE COURSE
We currently run the EDEXCEL UNENDORSED ART, CRAFT AND DESIGN
course. This allows you the freedom to explore different areas of art, such as
Painting, Printmaking, Textiles, Photography, Graphic Communication,
Sculpture and Contextual Studies. The course encourages you to take a
personal and imaginative approach.
The course consists of four units over 2 years:
YEAR 12:
UNIT 1-COURSEWORK 60%
UNIT 2-EXTERNALLY SET ASSIGNMENT 40%
YEAR 13:
UNIT 3-COURSEWORK (DEVELOPED FROM PERSONAL STARTING POINT) 60%
UNIT 4-EXTERNALLY SET ASSIGNMENT 40%

3. WHAT TO EXPECT
Throughout Year 12 you will be introduced to the different art disciplines
through a series of workshops. You will be set assignments based on these
workshops, all based around one theme.
For each art discipline you will be expected to use your own initiative,
research artists, create primary imagery including drawings and good quality
photographs, and annotate and review your work.
THE YEAR AHEAD
You will have one project broken down into a series of workshops. Each area
will have a body of work including recording observations, media
experimentation, developing ideas and a final piece. The project will be
complete by February with a final piece of in a media of your choice.
SEPTEMBER - DRAWING WORKSHOPS - including mixed media and collage
OCTOBER - PRINTMAKING WORKSHOPS - including mono, poly, lino, and
collographs
NOVEMBER/DECEMBER - PAINTING WORKSHOPS - Watercolour, acrylic,
gouache and oils
DECEMBER/JANUARY - SCULPTURE WORKSHOPS - Ceramics, wire and
mixed media.
JANUARY/FEBRUARY - FINAL REALISATION OF YEARS WORK.
MARCH/MAY - Exam Preparation Period
We are here to guide you, and you are privileged to have teachers that
specialise in different art disciplines, but we will not do the work for you.
As an artist you must be punctual, and have good attendance. If you miss
practical workshops we will not have time to go back over that work as the
course moves forward very quickly and you will be expected to catch up in
your own time. Failure to attend lessons and lateness will ultimately have a

4. major effect on your overall grade. Students who regularly arrive late and
disrupt the lesson will not be admitted to the class on that day and it will be
noted in their school records.
If you fall into this pattern your work will suffer, you will be playing catch-up,
and your work will be weak resulting either in being asked to leave the course
or a poor grade.

5. EQUIPMENT LIST
It is important as an artist that you are fully equipped for every lesson. It is
expected that you will have the following equipment by September and bring
it to every lesson, without fail.
ESSENTIAL:
 A SKETCHBOOK-A3 HARDBACK
 A RANGE OF PENCILS
 PENS, INCLUDING A BIRO AND A FINE LINER
 COLOURED PENCILS-AT LEAST 5 DIFFERENT COLOURS
 MASKING TAPE
 A GLUE STICK
 RUBBER
 A 30CM RULER (METAL PREFERABLE)
PREFERABLE:
 TOOL BOX TO KEEP EQUIPMENT AT ITS BEST
 PAINT BRUSHES
 SCISSORS
 A1 PLASTIC FOLDER

6. ANNOTATION
Annotation is vital to gaining good marks and it is important that you
approach it correctly and maturely using subject specific language. All
images of artists work or your own must be extremely high quality - no
pixellated or out of focus images.
The following is a guide to help you:
ANALYSING YOUR OWN WORK
Looking at your own work can be scary at first but learning to analyse your work
is an important part of artistic growth. Begin by looking at the piece and answer
some of the following questions:
What was the inspiration for your work?
What media have you used?
What proportion are your colours used in? Was that planned? Which colours are
dominate, secondary and accent colours?
How have you used tonal value in your design?
Is line a strong element of your design? What qualities are typical of the lines
used: thin, thick, broken, continuous etc?
What shapes have you used? Are they geometric, symmetric, asymmetric etc?
How are your shapes laid out: randomly, on a grid, evenly spaced etc? Are your
shapes overlapping? Why did you choose this arrangement?
What are the edges of your shapes like: sharp, blurred, curved etc? Why?
Are the shapes all one scale or various scales? Why?
Have you made the best use of both positive and negative space?
Does your design have volume and depth? How was this achieved?
What is the mood of your design? How is this achieved?
What textures have you used in your design? Why?
What is the emphasis of your design? Does your design have a focal point? How
was this achieved?
Is the overall design symmetrical or asymmetrical? If it is asymmetrical, have you
used contrasts in visual weight to counterbalance any objects in your design?
Is your design static or dynamic? Why?
Did you control the contrasts of value, hue, scale, intensity, space and texture
successfully?
Is your design a pleasing arrangement of line, shape, and form? Is the quilting an
important element of the design? Why or why not?
Do the techniques used improve the design or detract from it?
Most importantly, do YOU like your design?!

7. ANALYSING OTHER ARTISTS WORK
Art & Art History: Formal Analyses & Comparative Analyses
Although a work of art can be analysed on multiple levels and in multiple
contexts, several key details are almost always addressed in formal analyses
and comparative analyses. This handout provides helpful questions to ask
about a piece of art in order to direct attention to the most important details in
the often-overwhelming amount of information any one work possesses. These
questions should be considered, but only addressed in the final analysis if
they are relevant details to the overall meaning and impact of the work.
Formal Analysis:
A formal analysis is quite simply an analysis of the forms utilized in the work of
art. It is a close inspection of the artist’s use of aspects such as colour, shape,
line, mass, and space. The formal analysis moves beyond simple description
in that it connects the elements of the work to the effects they have on the
viewer. Considering this connection enables the writer to discuss the meaning
of the work.
Begin with a brief but thorough description of the work.
 What is the title?
 Who is the artist?
 What year was it created?
 What is the physical condition of the work? Is it dirty, clean, restored?
Include historical information.
 What country or region was it made in?
 Does it belong to a particular movement, age, or school of thought?
 Does it have an influential patron?
 Is the work typical or atypical of its period, style, or artist? What artistic
influences can be seen in the artist's work?
Analyse the work itself.
How does the art “work?” That is, what details in the piece are used to convey its
meaning? Consider how these details function by themselves and together as a
whole.

8. Paintings, Drawings, and Etchings:
How does the artist use colour? Are there stark contrasts or is it blended? Are
there symbolic meanings behind the colour choices?
How does the artist use line? Are forms linearly arranged or disordered? Are
there geometric shapes implied by the forms in the piece?
Are the forms in the piece realistic or abstract? Are they fully one style or do
they mix the two?
Sculpture and 3-D Pieces
What is the medium of the piece, and how does it affect the viewer’s
impression? (For example, stone gives a sense of permanence and strength).
What was the purpose of this piece? In what setting was it originally placed?
Is the piece unusually large or small?
Is the piece representational or abstract? Is the artist exploring forms or space
within forms?
Is the piece a portrait of a person? What type of impression does it give of the
subject?
Architecture and Space
What is the form of the structure, and what is the function? How do form and
function complement each other?
Is the structure useful? How do people move throughout the structure? How
does the artwork interact with its environment?
Is the building or space structurally sound, given its location, design, and
materials?
What role does daylight play? Is the inside bright or sombre?
Do the exterior and interior complement each other? Is either adorned with
ornamentation in the form of statuary, colour, or paintings?

9. Comparative Analysis:
The comparative analysis starts with a formal analysis of two or more
individual pieces, and then adds another level of discussion that evaluates
relevant similarities and differences between the pieces. This added level is
useful in revealing details about trends within historical periods, regional
similarities, or growth of an individual artist over time.
In describing the individual pieces, keep to the same conventions used when
doing an individual formal analysis.
Ask yourself why this comparison is relevant.
Depending on the length and complexity of comparison, one of the two
following basic structures will be more appropriate:
“Lumping” involves discussing all details of one work, and then all details of
the second work. This method is preferred in lengthy or broad comparisons to
avoid zipping back and forth between the works too quickly. Remember to
compare the two works by referring back to the first work when discussing
the second. This will ensure that you don’t simply write two descriptions.
“Splitting” involves discussing a particular point in both works before
moving on to another point. This method is preferred in comparisons dealing
with fine details instead of a broader look at each work as a whole. Remember
to discuss each point evenly to maintain a clear, parallel structure.
MARKING YOUR WORK
Getting a good grade is only possible by covering all of the marking criteria.
You can be the most talented artist there is but if you do not have the
sketchbook and work to back up your final pieces you will get very little
marks. You must cover all of the assessment criteria in the grid to get the
marks and achieve a good grade. Use the following grid each time you create
a piece of work to help you obtain the best possible marks.

12. DRAWING AND MARK-MAKING
Drawing is the basis of all artwork. It requires exceptional self-motivation and
discipline. On this course, you’ll be challenged to find your own artistic vision
and apply it to your art. You’ll experiment with a variety of techniques and
explore both traditional and non-traditional styles of drawing. Chances are,
your notion of drawing will be challenged through the materials. You’ll be
encouraged to use and you will find your own style developing as you
continue through the year.
One of the most valuable aspects of an A Level course is the opportunity to see
the work of other artists. You will be expected to make independent visits to
exhibitions and galleries regularly. Regular critiques individually and within
the group are vital to individual progression, so you’ll have the chance to
discuss work and hear what others think of your work. You’ll also learn (the
fine art itself of) how to critique others, which is absolutely necessary to
becoming a better artist.

13. Examples of Mark-making

14. Five Men In A Comic - Leonardo da Vinci

15. INTRODUCTION TO COLOUR THEORY
Colour is a rich and powerful means of expression and communication. It
affects the apparent size of forms, their spatial position and the sharpness of
the outline. Colour is the response of vision to the different wavelengths of
visible light that forms a marrow band on the known spectrum of radiant
energy. When green, red and blue light are superimposed they make white,
as do other carefully spaced triads. Triads are colour schemes made through
any three colours laying equidistant on the colour wheel. Another example is
magenta, cyan blue and chrome yellow, which are now the basic ink colours
used in ink printing.
Mixing light is called additive mixing, because the more colour you put in the
more light you get. The additive mixing of coloured light primaries produces
lighter secondary’s and finally, pure white. Pigments however do not radiate
light, but display colour. Mixing pigments is called subtractive mixing
because the more pigments you use the more light is absorbed, eventually
you get muddy colours and finally black. Most artists and designers now use
as few pigments as they can.

16. PRIMARY COLOURS - Red, yellow and blue are primary colours, out of
which all colours can be mixed.
SECONDARY COLOURS - Secondary colours are made by mixing primary
colours. The secondary colours are orange, purple
and green.
Each primary is opposite a secondary – red - green
yellow - purple
blue - orange
These colours are complementary to each other.
The colour wheel enables artists and designers to easily identify these
complementary colours, which lay opposite each other on the colour wheel.
Artists have intuitively used these complementary colours for centuries. The
17th century Dutch landscape painters, for example, could intensify the visual
effect of masses of green foliage by adding a complementary red (i.e. in the
form of a person wearing red perhaps). Likewise, if you mix complementaries
in small dabs, you make optical greys. Look at the work of the pointillist
painter Georges Seurat to see how he makes different colours by mixing small
dots of different coloured paints, in a similar way to our modern day printers.
Sunday Afternoon on the Island of La Grande Jatte - Georges Seurat

17. COLOUR TERMS
HUE – The word hue is what is commonly thought of as a colour. It is used to
describe the colour sensation that a pigment gives. It describes the visual
effect of redness, yellowness etc.
VALUE – Refers to the lightness or darkness of a hue when compared to the
light to dark scale – black graduating through a series of greys to white – i.e.
the visual distance from black or white that a colour is considered to be.
CHROMA –This is the description of the strength or purity of a hue. Thus we
have strong’ bluey- blues’ of maximum chroma, and ‘light grey-blues’ of low
or weak chroma.
PRIMARY COLOURS - These are red, yellow and blue. They are said to be
original colours. They are the source [in theory] from which other colours are
derived. They cannot be made by combining any other pigment.
SECONDARY COLOURS – These are orange, green and purple. They are
made by mixing together the primary colours in pairs, e.g. red + blue =
purple, red + yellow + orange, Blue + yellow = green.
TERTIARY COLOURS – Books on colour theory differ in what is termed as a
tertiary colour. Some books describe tertiary colour as being one that is
obtained by mixing a primary colour with a secondary colour, e.g. Yellow and
orange produces yellow orange. Other books describe a tertiary colour as
being a mixture of two secondary colours, e.g. green and purple mixed
together produces olive. In the light of conflicting descriptions both may be
considered to be valid definitions, though most colour theorists claim that the
mixture of two secondary colours is the more commonly accepted definition.
CHROMATIC SCALE - This is the name given to the colour circle or wheel. IT
is an orderly arrangement of HUE and VALUE and is the pigment equivalent to
the coloured light or spectrum as seen in a rainbow.
TINT – A tint is a colour to which white has been added.
SHADE – A shade is produced by darkening a colour by the addition of black.

18. Chroma Chart

19. TECHNIQUES
GOUACHE PAINT
Gouache [pronounced ‘gwash’] is a contemporary paint, which is particularly
popular with book illustrators and commercial artists due to its vibrant colours
and smooth texture. Gouache, like watercolour is water based, though it
differs from watercolour in that it is thicker and appears more opaque and
richer when it is dry [similar to acrylic paint]. Gouache is very versatile and
there are many techniques that painters can use with gouache paints to evoke
different effects in their work.
Gouache can be diluted with water to thin the paint. This is useful when
creating washes and for the smooth application of the paint.
Bed Sit Blues, 1993 - John Holcroft
WET over WET gouache doesn’t bleed like wet watercolours do over each other,
but it’s still easy to mix and blend wet gouache. Wet over wet techniques are
most successful if a bit of distilled water is sprayed onto the work surface.

20. WET over DRY. For this technique, you’ll want to use a dry brush and fresh
gouache on a painting that has completely dried. This technique can be used
to completely cover a work that has been previously painted. Gouache can
also be rewet with distilled water after it is dried, which means colours can be
blended or images can be re worked.
Tips: For fine art painting, watercolour papers [either white or tinted] are
recommended to exploit the widest variety of techniques and ensure long-
term stability. Designers and Illustrators tend to use illustration board or hot
pressed watercolour paper for a flat finish which reproduces well. Textured
paper, coloured paper or mount board can also be used to achieve different
finishes. It is recommended that heavier weights are used to give a more
stable surface for the paint, especially if a number of layers are applied.

21. Acrylic Paint
Acrylics are extremely versatile, fast-drying paints, and can be used straight
from the tube like oils or thinned with water or a medium and used like
watercolours. Here are a few tips to help you get started painting with
acrylics.
Complementaries in Red, 1989 - Francis Tausey
Acrylic Painting Tip 1: Keeping Acrylic Paints Workable
Because acrylics dry so fast, squeeze only a little paint out of a tube. If you're
using a 'normal' plastic palette invest in a spray bottle so you can spray a fine
mist over the paint regularly to keep it moist. 'Stay-wet' palettes – where the
paint sits on a sheet of wax paper place on top of a damp piece of watercolour
paper – eliminate the need to do this, but generally don't have a hole for your
thumb so are more awkward to hold in your hand.
Acrylic Painting Tip 2: Blot your Brushes
Keep a piece of paper towel or cloth next to your water jar and get into the
habit of wiping your brushes on it after you raise them. This prevents water
drops running down the ferrule and onto your painting, making blotches.
Acrylic Painting Tip 3: Opaque or Transparent
If applied thickly – either straight from the tube or with very little water added
– or if mixed with a little white, all acrylic colours can be opaque. If diluted,
they can be used like watercolours or for airbrushing.

22. Duncan Shanks [By Lea Meadow]
Acrylic Painting Tip 4: Acrylic vs. Watercolour Washes
When an acrylic wash dries, it's permanent and, unlike a watercolour wash, is
insoluble and can be over-painted without fear of disturbing the existing
wash. The colours of subsequent washes mix optically with the earlier ones. A
watercolour glaze can be lifted out using water and a cloth.
Acrylic Painting Tip 5: Think Thin When Thinking Glazes
If you want transparent glazes, these should be built up in thin layers; a heavy
layer will produce a glossy surface.
Acrylic Painting Tip 6: Improve Flow Without Losing Colour
To increase the flow of a colour with minimal loss of colour strength, use flow-
improver medium rather than just water.
Acrylic Painting Tip 7: Blending Acrylic Paints
Because acrylics dry rapidly; you need to work fast if you wish to blend
colours. If you're working on paper, dampening the paper will increase your
working time.

23. Acrylic Painting Tip 8: Hard Edges
Masking tape can be put onto and removed from dried acrylic paint without
damaging an existing layer. This makes it easy to produce a hard or sharp
edge. Make sure the edges of the tape are stuck down firmly and don't paint
too thickly on the edges, otherwise you won't get a clean line when you lift it.
Crak - Roy Lichtenstein
Acrylic Painting Tip 9: Washing-up Liquid with Masking Fluid
Masking fluid can be used with acrylics washes, as well as watercolours. Once
masking fluid has dried in a brush, it's nearly impossible to remove. Dipping a
brush into some washing-up liquid first makes it easier to wash masking fluid
out of a brush.
Acrylic Painting Tip 10: Using Acrylic Paint as glue for Collage
Provided it's used fairly thickly and the item to be stuck isn't too heavy, acrylic
paint will work as glue in a collage.

24. WATERCOLOUR PAINTING
Here are some watercolour techniques to help you create some exciting
pictures. It is very rare for the techniques to be used in isolation, normally you
will find many techniques used in a single picture. The best way to start is to
practice some of these techniques on their own, watch what actually happens
then you will be able to choose what will be the most effective for your
picture.
WET into WET. This is perhaps the most exciting but unpredictable
technique and involves applying each new colour without waiting for earlier
ones to dry so that they merge together with no hard transitions of one colour
to another. The effect will vary according to: whether the paper is wet or damp
to start with, there will be crisp edges formed where the paint reaches a dry
area.
How wet the paint is and the colours themselves will affect the outcome.
Different pigments ‘perform’ differently some will repel and push away other
colours whilst some ‘mingle’ nicely together.
Wet into wet can create lovely soft atmosphere, it is very useful for landscape,
distant hills and trees. It is also useful for adding another dimension to any
subject by working wet into wet in small areas only so that you contrast with
soft, blurred edges. Care needs to be taken though to avoid the picture
looking too formless and undefined.
Shady Spot, 1878 - Winslow Homer

25. Wet on Dry. This is the classical way of building up a watercolour painting.
Watercolours are transparent so consequently paintings are built up in layers,
working from light to dark. It is most important that you allow each layer to
become absolutely dry before you add the next colour. When each wash dries
it forms hard edges – these are a positive feature as they add a crisp energy to
the image. There is a danger that you can muddy the colours if you allow too
many layers to accumulate so it is important to be really positive with your first
washes.
To be successful, the wet on dry technique relies on careful planning. As a
general rule, limit your washes to just three otherwise the colours will begin to
lose their clarity and the edges can start to look too hard.
Wet on dry is very useful when you need crisp sharp edges, also for leaving
edges that will serve as highlight. It’s also useful for areas in the foreground to
act as a contrast to looser areas and helping the perspective of the painting.
Variegated/Gradated Wash. These are laid down in the same way as a flat
wash working either dark to light or adding another colour. It can be easier to
work with very slightly dampened paper and always mix the colours in
advance. For a single colour gradation, mix 3 or 4 puddles of the colour you
are going to use each one with more water in it then starting with the strongest
work the first area keeping the paint as fluid as possible so that each
brushstroke flows from one to another, then continue loading your brush with
each successive wash. Never be tempted to work back into the wash or you
will produce stripes. For a variegated wash such as a sunset blending from
blue at the top to red, oranges and yellows mix up the suitable colours in your
palette and lay them in stripes one under the other so they blend gently into
one another – once again I find that a slightly dampened paper works best and
working with the board at an angle until the effect has been achieved, then lay
board flat to dry completely. Useful for creating moods and atmospheric
effects especially sunrise or sunset.
Highland Light, 1930 - Edward Hopper

26. Textures
Wax Resist - a simple idea that can yield some quite magical results, if you
draw or lightly scribble over paper with wax and then overlay this with
watercolour washes the paint will slide off the waxed areas. Use either an
ordinary household candle or wax crayons. Wax under watercolour can give a
quite unexpected speckled effect, which you can vary according to the
pressure applied, and the type of paper used. It is one of the best methods for
imitating natural textures such as those of rocks, cliffs or tree trunks. With wax
crayons you can suggest a hint of pattern on wallpaper or fabric in a still life
group or background for a portrait. Vibrant textures and colours can be
achieved with more detailed drawings with further variety achieved by
scraping back into the wax.
Salt - fascinating effects can be achieved by scattering salt crystals into wet
paint, these will vary according to how close the crystals are to one another,
the type of salt you use and how wet the wash is. Lay down a wash, scatter
over some salt then leave the wash to dry completely before gently brushing
off the salt. Elaborate textures can be achieved by building up several layers
of washes and salt scattering, however, make sure that each one is completely
dry before you start another. This technique is useful for weathered rocks,
snowflakes in a sky, mottled under leaves or to suggest forest floors.
A Cottage Near Meltham, Roger Griffiths
Soap. Mixing paint with soap is a less predictable method than salt scattering,
however some exciting effects can be achieved by experimenting with different

27. types of soap. The soap thickens the paint without destroying its translucency.
The soapy paint stays where you put it instead of flowing outwards, which
allows you to use inventive brushwork to describe textures and forms. The
thick paint will hold the marks of the brush very well and the bubbles will
leave pronounced rings and blobs when they dry off.
Sponge - Glorious textures can be achieved by dabbing paint onto paper with
sponges over flat washes but be careful not to overdo it if you want to achieve
texture. A fine sponge lightly dabbed into paint then lightly dabbed on the
paper to suggest leaves on trees can be very effective. Squeezed out almost
dry and dragged will give a slightly striated effect to give a suggestion of
ripples on water or hair in a portrait. I find that sponges are essentials in my
watercolour kit, apart from being very useful for mopping up unwanted paint,
tidying up hard edges and making correction they can also be used instead of
brushes, some artists prefer to use them to lay in flat washes, they are also
useful for ‘lifting out’.
Gum Arabic - Used to make thick juicy washes for background effect. Gum
arabic is already present in watercolours as it is used to bind the pigment
however when you add more it makes the watercolour thicker and glossier
and enriches the colour. About 1/3 water to 2/3 gum arabic in a mix. Mask out
some areas that you don’t wish to paint, either by using masking fluid or
drafting tape or film then apply a thick juicy wash, and scrumple some cling
film or tin foil and place it on the wash. Leave it until it is absolutely dry then
lift off – and see the results!! Some other ways to use it is to mix several
different coloured washes together on the paper and watch how they run
together then resist.
Splattering – similar to stippling - colours and tones are built up from small
spots of colour. Splattering with a variety of different brushes produces
exciting random effects and feelings of movement. Generally just use it in
small areas of a painting as too much can appear rather mechanical and
overbearing – use it with discretion! Good examples to try is on rocks, to
create rough pitted effects – when the paint is dry the shapes can be worked
back into and by applying highlights and shadows you can create a 3D
illusion. Excellent also for snow – load an old toothbrush with a thick wash of
white gouache and splatter that across the scene – however always do a ‘test
run’ first to make sure you have got the consistency of paint right to produce
fairly even droplets.
Lifting Out – this simply means removing small areas of colour and is often
used to correct mistakes or to lighten colour. However it is useful when
painting bricks and mortar. Lay in a pale wash using a ‘staining’ pigment –
when this is absolutely dry wash over the brick colours using sedimentary

28. pigments then when that is dry, by using a flat brush you can lift out some of
the brick colour to expose the mortar. Soft brushes, sponges and tissues are
normally used for lifting out. Lifting out is only successful on good quality
paper, soft paper will roughen up and by lifting out you may end up with a
hole in the paper.
Highlights – Creating highlights is normally a matter of either adding or
removing (lifting out) colour. Highlights are the ‘icing on the cake’ when you
are close to completing a painting it is very satisfying to finish off with just a
few little touches that give the picture that excitement and brings it to life. In
watercolour you cannot add a light colour over a darker one so you need to
first decide where the brightest light are going to be and preserve the white
of the paper by either painting around it or masking them off. If you wish to
create a highlight in a previously laid wash, try lifting out the colour or scrape
back to the white paper with a scalpel or craft knife though make sure the
paint is absolutely dry before you attempt this.
Masking – As watercolour is transparent, it is impossible to paint a light
colour over a dark one so you need to plan carefully where the light areas are
going to be and either paint around them or preserve them. Masking fluid is a
rubbery solution that can be painted over the areas to preserve then once it is
dry it is safe to apply paint and washes. To remove, it care is needed to ensure
that the washes are completely dry then rub gently with a finger to remove the
‘mask’. Always use an old brush or ‘shaper’ and clean it immediately to
prevent the solution from drying hard and clogging up the bristles. Masking
tape and film are also very useful but be careful not to leave it on too long as
the adhesive can dry into the surface of some papers making it difficult to
remove.
Flint Castle - J.M.W Turner

29. PRINTMAKING TECHNIQUES
In printmaking, a surface is coated with ink and pressure is applied to bring it
into contact with the paper. In contrast to drawing, printing generally requires
the application of pressure to be even. If a variation of gradated tone is
desired, it must be achieved by a special combination of marks. Printing is
therefore a less immediate process than drawing. Experiment with marks and
effects and make modifications until satisfied with the results. Then the block,
plate or screen can be used to make a number of almost identical images.
Monoprint
Essentially a unique variant of a conventional print. An impression is printed
from a reprintable block, such as an etched plate or woodblock, but in such a
way that only one of its type exists, for example by incorporating unique hand
colouring or collage. The term can also refer to etchings which are inked and
wiped in an expressive, not precisely repeatable manner, to prints made from
a variety of printing elements that change from one impression to the next, or
to prints that are painted or otherwise reworked by hand either before or after
printing.
Monoprint - Pablo Picasso

30. Collograph
A Collograph is a collage of tactile and relief textures on a backing board
which, when inked and printed, will exaggerate the relief and transmit it to the
damp paper creating a rich and varied surface. Different tonal effects and
vibrant colour is also achieved because of the depth of relief and consequent
shadow effects and the differential inking that results from the highly textured
surface. Substances such as acrylic texture mediums, sandpapers, string, cut
card, leaves and grasses can all be used in creating the collograph plate. The
plate can be Intaglio inked, inked with a roller or paintbrush or a combination
of all three.
Relief printing
In a relief print, the raised portions of the print block are inked, and the ink is
transferred on to the paper to make the print. The raised portions can be built
up from the printing surface, but it is more usual to cut away the surface. Relief
blocks can be made from any material that can be worked, such as lino, clay,
wood and even vegetables.
A simple relief print can be made from a textured surface such as corrugated
card or a cereal box opened to reveal the folds. Roll or spread a little ink on a
slab as evenly as possible. The pigment should be transferred to the textured
surface carefully with a roller or dabber. A sheet of newsprint papers should
be laid on the inked surface and a sheet of cartridge paper or thin card placed
on top to prevent tearing during printing. To make the print, gently but firmly
and evenly rub on the back of the protective sheet with finger-tips, a pad of
newspaper, the back of a spoon or a clean roller.
Linocut
Linocut is a printmaking technique, a variant of woodcut in which a sheet of
linoleum (sometimes mounted on a wooden block) is used for the relief
surface. A design is cut into the linoleum surface with a sharp knife, V-shaped
chisel or gouge with the raised (uncarved) areas representing a reversal
(mirror image) of the parts to show printed. The linoleum sheet is inked with a
roller (called a brayer), and then impressed onto paper or fabric. The actual
printing can be done by hand or with a press.

31. Jesus Meeting With Zaccheus, 1981 - John Nderasia Muafangejo
Woodcut
Occasionally known as xylography, this is a relief printing artistic technique
in printmaking in which an image is carved into the surface of a block of wood,
with the printing parts remaining level with the surface while the non-printing
parts are removed, typically with gouges. The areas to show 'white' are cut
away with a knife or chisel, leaving the characters or image to show in 'black'
at the original surface level.
Etching
Etching is the process of using strong acid or mordant to cut into the
unprotected parts of a metal surface to create a design in intaglio in the metal
(the original process—in modern manufacturing other chemicals may be used
on other types of material). As an intaglio method of printmaking it is, along
with engraving, the most important technique for old master prints, and
remains widely used today.

32. 2004, Chapman Brothers
Stencil printing
In stencil printing a stencil or screen forms a barrier between the ink and the
paper. Ink is only allowed to pass through where the barrier has been
removed.
Simple stencils can be made by tearing holes or cutting designs in a sheet of
strong paper. The stencil is then placed over the paper to be printed, and
poster paint dabbed through the openings with a stiff brush. The poster paint
should be of thick consistency and dabbed on a little at a time, in order not to
smear the paint under the edges of the stencil.
Intaglio printing
In intaglio printing it is the recesses on a surface on a plate that are filled with
ink. The deeper the recess, the more ink it holds. When the surface of the
plate is brought into contact with paper, the ink is transferred from plate to the
paper. The process of etching uses acid to bite the recesses into a metal plate.
In drypoint the recesses are scored directly on to the printing plate.
A simple intaglio print can be made without using acid by drawing with a
sharp craft knife on a sheet of hardboard, or by using a pointed tool such as a
scriber on a sheet of acrylic. These methods produce a similar effect to
drypoint by creating a raised edge, called a burr, alongside the grooves. The
surface is covered with ink using a hard roller, and then wiped clean with a
dry rag. The ink remains only in the recesses and on the raised burrs and is
transferred to the paper.

33. Screen-printing
A printing technique that uses a woven mesh to support an ink-blocking
stencil. The attached stencil forms open areas of mesh that transfer ink or
other printable materials, which can be pressed through the mesh as a sharp-
edged image onto a surface. A roller or squeegee is moved across the screen
stencil, forcing or pumping ink past the threads of the woven mesh in the open
areas. Screen-printing is also a stencil method of printmaking in which a
design is imposed on a screen of silk or other fine mesh, with blank areas
coated with an impermeable substance, and ink is forced through the mesh
onto the printing surface. It is also known as silkscreen, serigraphy, and
serigraph.
Shepard Fairey Andy Warhol Miscellaneous

34. Sculptural Techniques
There are numerous different types and styles of sculpture or 3-dimensional
works. Traditionally sculpture is considered to be monumental, made from
indestructible materials such as metal or stone. However, the post-modern
world has broadened the whole area of Fine Art and this had particularly
applied to the area of sculpture. Very often, sculpture is seen as one of the
most difficult areas of art to understand and relate to. Gallery goers will often
dismiss modern sculptural work as ‘obvious’ or unworthy of the label Fine Art.
The area of sculpture can be intimidating as it is frequently difficult to read in
the traditional sense and is less familiar to us than the artistic area of Fine Art
painting. However, sculpture is one of the oldest art forms known to mankind
with examples being found in every ancient culture in the world. So it would
appear that mankind has always had the desire to represent the world around
him, and his thoughts and aspirations, in 3 dimensions as well as 2 dimensions.
A piece of sculpture is an artefact designed to be looked at from all angles, to
be seen from numerous viewpoints and, as such, demands enormous
consideration as to its intent, function and use of materials.
As an artist you need to select the most appropriate materials for your
intention. The following text describes some of the sculptural techniques,
which may be accessible to you on your AS/A2 Course of study and may help
you to express your ideas in 3 dimensions.
Carving
This is a very old technique favoured by ancient cultures and modern artists
alike. Carving is a basic technique in that it requires a solid block of material
to be cut and shaped into the desired form. Historically, artists and crafts
persons would have used materials such as marble, granite, soapstone or
wood. To carve a material such as marble requires an enormous amount of
skill both in the selection of the piece of marble and the actual carving of the
piece. Modern artists have more options at their disposal and can use a range
of manmade materials to create carvings.
Materials to experiment with:
 Polystyrene
 Ice
 Concrete block
 Wood

35. Modelling
Sometimes the material you want to use in a sculpture is unable to support
itself – a large work in clay for example. If this is the case then it is necessary
to use an armature, which is best described as a rigid structure. Similar to our
skeleton inside our bodies, the armature gives shape and support to the
structure. The armature may be a temporary thing used for support until the
sculpture is cast into a more durable material or it may stay inside the piece
and continue to provide support. An armature can be made from several
types of material including steel, wire, and wood or may be a found object. If
used cleverly, the armature can help to give the impression that the sculpture
is defying gravity and it actually becomes part of the composition rather than
just a means of support.
Modelling Materials:
 Paper pulp
 Wire
 Mod roc
 Clay
 Straw and mud
Image by Sophie Ryder
Casting
Traditionally casting requires a mould, which contains a negative impression
of the original subject. A more modern approach is to use a positive form to
produce another positive form. This is known as direct casting. It is a
particularly useful technique to apply to casting small objects and body parts.
Materials such as mod-roc are ideal for this type of casting because of their
quick drying time. Another very simple type of casting is relief casting, which
can be done on either a large or small scale and produces very good results.
Objects are pressed into a clay base so that an imprint is made. The object is
then removed and plaster is poured into the mould, which when dry will form
a relief surface. Alternatively, the objects may be left in the mould covered
with a release agent and then encased in plaster. Care has to be taken to
ensure that no ‘undercuts’ are cast which would prevent the objects from
being removed from the piece when dry.

36. Materials:
 Plaster
 Modroc
 Sellotape
 Metals
Mademoiselle Pogany. 1913 - Constantin Brancusi
Assemblage - This is a more modern form of sculpture, which makes use of
found objects or easily accessible materials. It is more to do with the
arrangement of the objects rather than any process, which makes this an
accessible form of sculpture.
Materials:
 Rubbish/recycled materials
 Personal possessions
 Wood/timber
Stack, 1997 - Tony Cragg

37. LONDON ART GALLERIES
Royal Academy of Arts Address
Address: Royal Academy of Arts, Burlington House,
London, W1J 0BD
Telephone: +44 (0)20 7300 8000
Website: http://www.royalacademy.org.uk/corporate/entertaining/
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Tate Modern Address
Address: Bankside, London, SE1 9TG
Telephone: +44 (0)20 7887 8888
Email: visiting.modern@tate.org.uk
Website: http://www.tate.org.uk
Tate Britain Address
Address: Millbank, London, SW1P 4RG
Telephone: +44 (0)20 7887 8888
Email: information@tate.org.uk
Website: http://www.tate.org.uk
National Gallery Address
Address: Trafalgar Square, London, WC2N 5DN
Telephone: +44 (0)20 7747 2885
Email: information@ng-london.org.uk
Website: http://www.nationalgallery.org.uk
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National Portrait Gallery Address
Address: St Martin's Place, London, WC2H 0HE
Telephone: +44 (0)20 7306 0055
Email: dsaywell@npg.org.uk
Website: http://www.npg.org.uk

38. Somerset House Trust Address
Address: The Strand, London, WC2R 1LA
Telephone: +44 (0)20 7845 4600
Email: info@somersethouse.org.uk
Website: http://www.somerset-house.org.uk
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Hayward Gallery Address
Address: Belvedere Road, London, SE1 8XZ
Telephone: +44 (0)20 7960 4242
Email: visual-arts@hayward.org.uk
Website: http://www.hayward.org.uk
Whitechapel Art Gallery Address
Address: 80-82 Whitechapel High Street, London, E1 7QX
Telephone: +44 (0)20 7522 7888
Barbican Art Gallery Address
Address: Level G, Barbican Centre, Silk Street, London,
EC2Y 8DS
Telephone: +44 (0)20 7638 8891
Email: tickets@barbican.org.uk
Website: http://www.barbican.org.uk
Serpentine Gallery Address
Address: Serpentine Gallery, Kensington Gardens, London,
W2 3XA
Telephone: +44 (0)20 7402 6075
The Saatchi Gallery Address
Address: Duke of Yorks's Building, Kings Road, London,
SW3 4SQ
Telephone: +44 (0)20 7823 2363

39. Haunch Of Venison Address
Address: 6 Burlington Gardens, Mayfair, London, W1S 3ET
Telephone: +44 (0)20 7495 5050
White Cube: Masons Yard Address
Address: 25-26 Masons Yard, St. James's, London, SW1Y
6BU
Telephone: +44 (0)20 7930 5373
The Wapping Project Address
Address: Wapping Hydraulic Power Station, Wapping Wall, London,
E1W 3SG
Telephone: +44 (0)20 7680 2080
Gagosian Gallery Address
Address: 4-24 Britannia Street, Bloomsbury, London, WC1X
9JD
Telephone: +44 (0)20 7841 9960
Hamiltons Gallery Address
Address: 13 Carlos Place , London, W1K 2EU
Telephone: +44 (0)20 7499 9493
Lisson Gallery: 52-54 Bell Street Address
Address: 29 Bell Street, Marylebone, London, NW1 5BY
Telephone: +44 (0)20 7535 7350
Hauser & Wirth: London Piccadilly Address
Address: 196A Piccadilly St. James'sLondon W1J 9EY
Telephone: +44 (0)20 7287 2300
Phillips de Pury and Company Address
Address: Howick Place, London, SW1P 1BB
Telephone: +44 (0)20 7318 4010

40. Victoria Miro Gallery Address
Address: 16 Wharf Road,Islington, London, N1 7RW
Telephone: +44 (0)20 7336 8109
LONDON MUSEUMS
Victoria and Albert Museum Address
Address: Cromwell Road, London, SW7 2RL
Telephone: +44 (0)20 7942 2000
Email: vanda@vam.ac.uk
Website: http://www.vam.ac.uk
Museum of London Address
Address: 150 London Wall, London, EC2Y 5HN
Telephone: +44 (0)20 7001 9844
Email: info@museumoflondon.org.uk
Website: http://www.museumoflondon.org.uk
Imperial War Museum London Address
Address: Lambeth Road, London, SE1 6HZ
Telephone: +44 (0)20 7416 5000
Email: mail@iwm.org.uk
Website: http://www.iwm.org.uk
British Museum Address
Address: British Museum, Great Russell Street, London, WC1B 3DG
Telephone: +44 (0)20 7323 8000
Email: information@britishmuseum.org
Website: http://www.britishmuseum.org
Imperial War Museum Duxford Address
Address: Duxford Airfield, Duxford
Telephone: +44 (0)1223835000
Email: duxford@iwm.org.uk
Website: http://www.iwm.org.uk

41. London Transport Museum Address
Address: 39 Wellington Street, Covent Garden, London,
WC2E 7BB
Telephone: +44 (0)20 7565 7292
Email: enquiry@ltmuseum.co.uk
Website: http://www.ltmuseum.co.uk
The Natural History Museum Address
Address: Cromwell Road, London, SW7 5BD
Telephone: +44 (0)20 7942 5000
Email: info@nhm.ac.uk
Website: http://www.nhm.ac.uk
Science Museum Address
Address: Science Museum, Exhibition Road, London, SW7
2DD
Telephone: 0870 8704868
Email: sciencemuseum@nmsi.ac.uk
Website: http://www.sciencemuseum.org.uk
Design Museum Address
Address: Shad Thames, Bermondsey, London, SE1 2YD
Telephone: +44 (0)20 7940 8790
Email: info@designmuseum.org
Website: http://www.designmuseum.org
The British Postal Museum & Archive Address
Address: Freeling House/Phoenix Pl, Bloomsbury, London, WC1X 0DL
Telephone: +44 (0)20 7239 2570
Email: info@postofficeheritage.org.uk
Website: http://www.postalheritage.org.uk
The Foundling Museum Address
Address: 40 Brunswick Square, London, WC1N 1AZ
Telephone: +44 (0)20 7841 3600
Email: enquiries@foundlingmuseum.org.uk
Website: http://www.foundlingmuseum.org.uk

42. Old Operating Theatre, Museum and Herb Garret Address
Address: 9A St Thomas' Street, London, SE1 9RY
Telephone: +44 (0)20 7955 4791
V&A Museum of Childhood Address
Address: Cambridge Heath Road, London, E2 9PA
Telephone: +44 (0)20 8983 5200
Email: bgmc@vam.ac.uk
Website: http://www.museumofchildhood.org.uk
The Garden Museum Address
Address: Lambeth Palace Road, London, SE1 7LB
Telephone: +44 (0)20 7401 8865
Worshipful company of Clockmaker's Museum Address
Address: Guildhall Library, London, EC2P 2EJ
Telephone: +44 (0)20 7332 1868
The London Film Museum Address
Address: 1st Floor, Riverside Building, London, SE1 7PB
Telephone: +44 (0)20 7202 7040
London Canal Museum Address
Address: 12/13 New Wharf Road, London, N1 9RT
Telephone: +44 (0)20 7713 0836
Email: info@canalmuseum.org.uk
Website: http://www.canalmuseum.org.uk
National Maritime Museum Address
Address: Romney Road, Greenwich, London, SE10 9NF
Telephone: +44 (0)20 8312 6565
Email: bookings@nmm.ac.uk
Website: http://www.nmm.ac.uk

43. List of art magazines
An art magazine is a publication whose main topic is art. They can be in print
form, online or both, and may be aimed at different audiences, including
galleries, buyers, amateur or professional artists and the general public
Notable art magazines include:
Aesthetica cover, February/March 2010. Creative Review cover, November 2009
 20x20 magazine- London based arts and literature publication
 Aesthetica - The Art and Culture Magazine
 American Art Review
 Aperture - quarterly on photography; based in New York, USA
 Art and Architecture Journal - founded 1980, re-launched 2005. UK based.
 Art+Auction
 Artforum - est. 1962 in San Francisco, now based in New York, US
 Artnet - based in New York, Berlin & Paris
 Art in America est. 1913; covers US and international art but concentrated on New
York
 ARTINFO
 ArtAsiaPacific - covers contemporary art in Asia, the Pacific, and the Middle East
 Art of England
 Art on paper-
 Art Monthly - est. 1976, UK-based coverage of contemporary art
 The Art Newspaper - est. 1990, international coverage of news from the world of
visual arts
 ARTnews - founded in 1902
 ArtReview - est. London, 1949

44.  Australian Art Collector - est. 1997, quarterly magazine covering Australian
contemporary and Aboriginal art
 Australian Art Review - Australian quarterly fine arts magazine
 Blueprint - A London based magazine on design and
 The Blue Review, a London-based arts magazine published in 1913
 The Burlington Magazine est. 1903, based in London, England
 Contemporary
 Craft Magazine contemporary crafts
 Creative Review
 Culture Lounge
 EYE magazine
 Flash Art
 frieze- a London-based contemporary art magazine
 Grafik
 Hunter and Cook - a contemporary Canadian arts and culture magazine
 ImagineFX est 2006; based in Bath, UK
 The Jackdaw - investigative and satirical, London-based
 Juxtapoz
 KIOSK - art, design and architecture magazine, est. 2007, based in London, UK
 Lens Culture - International art of photography, est. 2004
 Modern Painters
 Moving Art Magazine - international art magazine, est. 2007, based in The
Netherlands
 NYArts - also known as NY Arts Magazine, est. 1995. a contemporary arts
magazine
 Parkett
 Portfolio Magazine
 Print Connoisseur - 1920 - 1932; Vol 1#1 to 12#2, (4 6 issues - all published)
 Raw Vision - UK based, devoted to outsider art
 Revolutionart - Bi-monthly contemporary art magazine
 Sculpture - published by the International Sculpture Center
 Sensitive Skin Magazine - an online magazine of the arts
 Selvedge - contemporary fabric art and design
 Triple Canopy (online magazine)
 Third Text, founded by Rasheed Araeen, London
 White Fungus Magazine
 Whitehot Magazine of Contemporary Art- an online art magazine
 X London, 1959-62.

45. ARTIST LIST
Drawing
Leonardo da Vinci Picasso
Chapman Brothers Joan DuBuffet
Frank Magnotta Los Carpenteros
Tacita Dean Elizabeth Peyton
Zac Smith Susan Turcot
Giuseppe Mauro Linda Huber
Installation and Film
Bruce Nauman Martin Creed
Anish Kapoor Chris Ofili
Olafur Eliasson Clare Bishop
Gabriel Orozco Ilya Kabakov
Helio Oticica Mona Hatoum
Oliver Garner Leanne Pletersky
Textiles
Sally Freshwater Caren Garfen
Jeanette Appleton Louise Baldwin
Elizabeth Couzins Scott Dorothy Ann Daly

46. Ann Goddard Paddy Killer
Mary Anne Morrison Hannah Streefkerk
Constructed Paper
Richard Sweeny Noriko Ambe
Yulia Brodskaya Jen Stark
Dan McPharlin Susan Cutts
Nel Linssen Jens Praet
Matt Shlian Mia Pearlman
Graphic Arts
M. C. Escher Karl Kwasny
Neville Brody Florian Nicolle
David Carson Craig Ward
Saul Bass Lekha Nanavati
Saatchi & Saatchi Deanne Cheuk
Environmental Art
Richard Long Andy Goldsworthy
Nils Udo Robert Smithson
John Fekner Jecek Tylicki
Alan Sonfist Christo

47. Chris Drury Stan Herd
John Davis Rosalie Gascoigne
Screen Print
Andy Warhol Shepard Fairey
Kimura Kosake Katsushika Kosake
Monoprint
Tracy Emin Bryan Wynter
Pablo Picasso Pierre Bonnard
Jean DuBuffet Marc Chagall
Linoprint
Erich Heckel Gabriele Munter
John Nderasia Muafangejo Clare West
Shameem Siddiqui Julie Doucet
Etching
Rembrandt

48. Gouache
Jan Lebenstein Frances Hogkins
Eric Whollem Aydin Aghdashloo
Michael Taylor John Colcroft
Albrecht Durer Egon Schiele
George Morrison Russel Crotty
Robert Motherwell Joan Miro
Sir Anthony Van Dyck Nicolas Poussin
Peter Paul Rubens Bridget Riley
Edgar Degas Nicholas Hillard
Eva Hesse Ernst Wilhelm Ney
Acrylic
Robert Mangold Salvidor Dali
Andy Warhol K Kashata
Kio Taucho Mark Rothko
Francis Tausey David Hockney
Kenneth Noland Roy Lichtenstein
Miriam Schapiro Cheri Samba
Susan Rothenberg Paula Rego
Bryan Organ Jules Olitski
Malcolm Morley Bridget Riley

49. Watercolour
Paul Jackson Charles Reid
Winslow Homer Alexander Creswell
William Blake Rex Brandt
Charles Burchfield Paul Cezanne
Tony Couch John Sell Cotman
J.W.S Cox Honore Daumier
Charles Demuth Albrecht Durer
Otto Dix Paul Klee
Thomas Girtin Tom Hill
Tamara De Lempicka J.W.M Turner
Georgia O’ Keefe John Marin
Charles Sheeler James. A. McNeill Whistler
Oil Painting
Vincent Van Gogh Allen Jones
Marlene Dumas Lucien Freud
Johan Edvard Munch Frank Auerbach
Carel Weight Paul Cezanne
Graham Sutherland Mathis Grunewald
George Braque Diego Velazquez
Edouard Manet Oskar Kokoschka

50. Paul Gauguin Pierre Bonnard
Umberto Boccioni Amedeo Modigliani
Franz Radziwill George Grosz
Carving
Chris Dunseath Karl Hartnung
Rodin Barbara Hepworth
Modelling
Hans Arp Sophie Ryder Nicola Hicks
Amanda Lorens
Casting
Mark Chatterley Paolozzi Constantin Brancusi
Valerie Coffin Price Laura DiMeo
Assemblage
Louise Nevelson Tony Crage
Tracy Emin Bill Woodrow
BIBLIOGRAPHY
Books TV and Film
Periodicals Websites